Films tend to suffer when they disguise themselves as something they can never be. The Crown and the Dragon wants to be an epic film but it was crippled by financial limitations, and the fact that no one could do a convincing job with what they had. The 5 actors that were on screen at all times fail to connect and run through their dialogue like an 8th grade history project.
For the Crown and the Dragon
In addition to the plot of Ellen getting her Paladinhood via natural magic whatever , there is a political undertone that includes a rightful king being crowned, a sorcerer who can summon something that looks like a Nazgul but is made of crows, a unicorn horn, and also a dragon. Who could forget about the dragon that is sort of the wandering monster throughout the film, burning shit when things have gotten incredibly stale.
To add to this confusion and calamity is the set designs that wane between authentic to obviously rented. Throughout the film, lush landscapes populate and give the viewer a sense of scope. Because there are 13 goddamn people on screen at most, this scope is exemplified and soon turns into emptiness. The castles in this film are authentic, but most of the films action takes place outside their walls and leads to something that looks more like play pretend in the backyard of a monastery.
If it seems like I am focusing too much on the set design, it is because it is an aspect of this film that is suppose to be both enchanting and ancillary but looks dimwitted and slow.
- The Crown and the Dragon: The Paladin Cycle – film review.
- My Sweet Untraceable You (3rd In the Lauren Laurano Series);
- Health Care Fraud and Abuse Laws Affecting Medicare and Medicaid: An Overview.
- The Crown And The Dragon shows | Mixcloud.
- This Is Not the Ivy League: A Memoir (American Lives);
- Kant, Critique and Politics.
- Lesbian Erotica: Battle Of The Heart And Mind 3 – Lovers.
The Crown and the Dragon becomes so bad that interpretations of the film become somewhat plausible. The actual object seems to be of little significance as the narration around the object.
The Crown and the Dragon: The Paladin Cycle - Flatiron Film Company - Cinedigm Entertainment
The meaning and explanation is secondary to the stories that are connected. I am thankful for the chance to ponder the use of this plot device in fantasy films, though I do not think this can explain away the insanity of this unicorn horn in this particular film. The Crown and the Dragon may use this mysterious object as a vehicle for stories but in the end, especially when someone gets stabbed with it, the whole production feels rushed and confused. I beleive the thing is called a Falerica.
The Crown and the Dragon is a poorly made film that fails on almost every level. The most frustrating part about this film are the glimmers of quality that sometimes shine through dark clouds. These glimmers include the close cinematography segments between exterior shots of people running around in costumes. Other than these small bits of clarity, the rest of the film teeters between boredom and the abyss of insanity.
The Crown and the Dragon poses more questions than it is ever willing to answer. If there is anyone to blame for this time wasted, it is myself.
An example of the enormity of a usual set. It is your only hope. He had traveled to the Far End—the place of the dragon—and was gone for many years. When he returned, her uncle carried with him a strange crown. He claimed it gave him great wisdom and, with it, he led the people of his small village into a time of prosperity.
After her uncle died, her father inherited the crown and became Lord, but now he had died from the Black Death, and those who coveted the crown had come to try and lay claim to it once again. Matilda looked upon the crown as a family curse rather than a blessing and wished to never see it again, but she had done as her mother instructed and taken it, hands shaking, out of its hiding place. But would she have courage enough to venture to the Far End? She knew not. At that moment, she only felt an urge to take her brother and herself far from the village and the pounding hoofs of the horses and their evil riders.
Back beneath the willow, she watched as her brother ate the last of the radishes and, when he was finished, they crossed the shallow river.
Ahead lay the Far End. Here Be Dragons. Would you rather go back to those men? Or the disease that took our family? They went silent for a moment. She looked ahead and did not answer him. Instead, she adjusted the strap of the heavy sack hanging from her shoulder.
I would rather face this monster, benevolent or not, in full daylight than in shadow. The forest fell away to low shrubs and then short grasses as they neared the site.
It shimmered in the late morning sun. At that moment, an oddly dressed knight came around the head of the beast.
His strange armor glowed in the sunlight, like the scales of the dragon behind him. To be eaten? Matilda saw that talk of their mother had brought a tear to his eye. Her heart pounded in her chest as she moved to show herself to the two strange beings—one large, brooding, and foreign, the other strangely familiar but terrifying nonetheless.
The knight turned toward the sudden noise, went down on one knee and shot a bolt of lightning from his wrist. It threw up dirt a few yards from where Matilda stood and it fell in clumps at her feet. She squealed in spite of herself and stepped back.